What is the Tomatometer®?

The Tomatometer rating – based on the published opinions of hundreds of film and
television critics – is a trusted measurement of movie and TV programming quality
for millions of moviegoers. It represents the percentage of professional critic reviews
that are positive for a given film or television show.

From the Critics

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Fresh

The Tomatometer is 60% or higher.

Rotten

The Tomatometer is 59% or lower.

Certified Fresh

Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.

[Whose Streets?] is a memorable snapshot of what protest looks like now, in a moment of escalating tension and an era of social media immediacy with little patience for incremental change.&dash; Uproxx - EDIT

Power also brings a remarkable degree of technical skill to the film, cutting between his two chronologies at telling moments and turning the idyllic surroundings into a place where danger and horror seems to rest behind each bend in the trail.&dash; Uproxx - EDIT

The film moves at a stately pace, but that just makes it cumulative effect all the more powerful. Time had its way with Dawson City as it has its way with the rest of the world, but there's much to learn, and beauty to see, in what's been left behind.&dash; Uproxx - EDIT

The film works at once as a compelling, tangled legal story, a depiction of Chinatown's world within a world, and a portrait of those who live there and shape it as they try to bridge the gap between one world and the other.&dash; Uproxx - EDIT

Fassbender embraces the surface traits of both these human simulacrums then allows the emotional complications to slowly, subtly emerge as their interactions become more and more discordant.&dash; Reverse Shot - EDIT

As horror anthologies go, a .500 batting average isn't bad and it would be nice to see XX, like similar projects, inspire sequels that shine a spotlight on even more female directors.&dash; Uproxx - EDIT

Never less than diverting, especially in these long weeks when a solid PG-13 horror movie offers the best thrills around, The Bye Bye Man's most inspired moments make great use of its creepy location.&dash; Uproxx - EDIT

Suárez and Ugarte both do remarkable work in the midst of another complex, unblinking character study told in the language of classic movies and playing out in the sort of striking colors usually found only in dreams.&dash; Uproxx - EDIT

It treats Christine's tragedy as a question without an answer, letting it play out and leaving us to wonder what it all means, and contemplate how over 40 years later we're no closer to finding an answer.&dash; Uproxx - EDIT

Its slowly intensifying approach, use of shadows and suggestion, unsettling soundtrack, and well-deployed special effects allow it to stand nicely next to a recent horror classic, Jennifer Kent's The Babadook.&dash; Uproxx - EDIT

Here director Mira Nair, working from a script by William Wheeler, brings a lot of thoughtful shading to a tale of triumph over adversity, resulting in a film that's at once rousing and moving.&dash; Uproxx - EDIT

It's the story of a white girl, but also about how being a white girl shapes how the rest of the world sees her, and the ways it creates buffers that slow her descent as she makes one bad decision after another.&dash; Uproxx - EDIT

It's a fundamentally sweet film, but one that understands that no matter how hard parents work to make their kids feel safe they're not always a match for a world seemingly determined to make them feel lost.&dash; Uproxx - EDIT

The unhurried approach both ratchets up the tension and allows more time to get to know the players, who often talk around what they want to say in barbed, witty, Elmore Leonard-inspired dialogue.&dash; Uproxx - EDIT